Early Chinese Art: Difference between revisions
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[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch16 by Jason C. Kuo 9/10/15 WILEY Online Library] | [https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch16 by Jason C. Kuo 9/10/15 WILEY Online Library] | ||
Xushi (emptiness-substance) is one of the most frequently used terms in Chinese art and literary theory. References to xu and shi appear frequently in Chinese texts on painting written after the sixteenth century, although these terms were discussed in literary theory from Song Dynasty onward. This chapter begins with the elaboration on xushi by looking at the physical living space of the literati, namely the literary garden. Then, it looks at how the creation of a balance of empty and substantial forms has been applied to seal engraving. | Xushi (emptiness-substance) is one of the most frequently used terms in Chinese art and literary theory. References to xu and shi appear frequently in Chinese texts on painting written after the sixteenth century, although these terms were discussed in literary theory from Song Dynasty onward. This chapter begins with the elaboration on xushi by looking at the physical living space of the literati, namely the literary garden. Then, it looks at how the creation of a balance of empty and substantial forms has been applied to seal engraving. | ||
=====The Art of “Ritual Artifacts” (Liqi): Discourse and Practice===== | |||
[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch11 by Wu Hung 9/10/15 WILEY Online Library] | |||
In order to understand Chinese art during the extremely long period from prehistoric to early historical times, one must understand the vocabulary, function, meaning, and esthetics of “special artifacts”. This chapter begins with reconstructing a textual discourse on liqi , “ritual/ceremonial artifacts” that developed from the mid- to late Eastern Zhou (sixth-third century BCE), when the demand for such artifacts was itself waning. Then, the chapter shifts focus from the textual discourse to the basic characteristics and development of liqi based on archaeological materials and art historical methodology. | |||
